I had the ridiculous privilege of playing these with/for VC in his living room on Saturday mornings before he passed in ‘06. Then we’d go out for lunch and solve the world’s problems together. Of the many, many things I learned from him one was “producing sound on the trumpet is really just about the free release of air”. Another was don’t go to a breakfast place and order fish.
I have been playing these flow studies for about 2 years now I’m and my range has improved so much now that I can play higher than my lesson teacher who has been playing for over 50 years so I would definitely recommend!
@@whydoialmosthave500subs4 The a over high c above the staff. My lesson teacher is 71 so I do have a little advantage over him hehe but still this is a great exercise and I still play it
@@Hi-gu9dy hmmm, that’s interesting. For me instead of having to practice like this for my range, one day I was doing the a scale(the one that goes to the first a above the staff) and I got so angry that day. Then the very next day I had a zenkai boost and I could play super high out of no where. The only problem was I could no longer play low notes; this was a couple months ago(April 6th to be precise; there’s no way I could forget) and my embouchure eventually adapted. But for me, things got worse before the sudden zenkai boost. In December 2021 I was playing better than I was in March even though I kept practicing. I still can’t explain it; just wondering if anyone else experienced this
Ok, love the Air Flow exercises. I got acquainted with them as a student of Ed Tarr, who studieed with Mr. Chicowiz. Time moves on and with it, me too. i don't play trumpet anymore, but rather after embouchure collapses in the early 1980s, I switched to trombone after a 9 year pause and then moved on to bass trombone. I use a version of the flow studies to open both my upper and lower registers simultaneously, expanding stepwise into each, until I reach the high concert b-flat and the pedal f/E-Flat/D (on a good day. I do however do them a little differently in that I always start and end on the same middle f. This assures, that despite the so-called "shift" (ie lower jaw movements to accomdagte air direction for both extremes: blowing downwards for high notes and blowing outwards for extreme low notes), that the mouthpiece doesn't slide on the lips, getting one trapped in one register or the other. In other words, and especially true for trombone and tuba players, you are encouraged to move your lower jaw, which changed the direction of air flow analog to the size of the lip aperture. Some do not need these, most do. Trumpet players also use this, you can see this, no matter if up-streamer or down-streamer. Another thing I concentragte is beauty of sound, which needs relaxation, not tension in the bad sense. Understanding, that we are physically not the same person every day, it's important to not beat oneself up, when either the upper regisgter is tight or the lower register doesn't want to speak. When I hit a wall, I don't try to break it down, nor myself. I go on to my next group of exercises, which are usually Bordogni lyrical exercises. Then after 3-4 of these, I go to the Concone exercises for low voice, Ffrst down an octave for the low reigster, then at original pitch (the version for low vocal voice). After these, I will do the last couple of exercises of the air flow exercises and e voila - suddenly the high register is there and/or the pedal register also and the ability to go between them is present. Sometimes we get so caught up in technique, that we forget music and once we can forget technique, the music -can- do what the technical brain can't/won't on that particular day. After the trials and tribulations I went through with the trumpet, I was determiend to avoid that at all costs on the trombone and this has been a big help.
0:40 - Playing Begins - thank you David - God Bless!
Georgeous sound ,even ness and effortless high register
I had the ridiculous privilege of playing these with/for VC in his living room on Saturday mornings before he passed in ‘06. Then we’d go out for lunch and solve the world’s problems together.
Of the many, many things I learned from him one was “producing sound on the trumpet is really just about the free release of air”.
Another was don’t go to a breakfast place and order fish.
I have been playing these flow studies for about 2 years now I’m and my range has improved so much now that I can play higher than my lesson teacher who has been playing for over 50 years so I would definitely recommend!
How high can u play now?
@@whydoialmosthave500subs4 The a over high c above the staff. My lesson teacher is 71 so I do have a little advantage over him hehe but still this is a great exercise and I still play it
@@Hi-gu9dy hmmm, that’s interesting. For me instead of having to practice like this for my range, one day I was doing the a scale(the one that goes to the first a above the staff) and I got so angry that day. Then the very next day I had a zenkai boost and I could play super high out of no where. The only problem was I could no longer play low notes; this was a couple months ago(April 6th to be precise; there’s no way I could forget) and my embouchure eventually adapted. But for me, things got worse before the sudden zenkai boost. In December 2021 I was playing better than I was in March even though I kept practicing. I still can’t explain it; just wondering if anyone else experienced this
Grato por essa vídeo aula de grande valia para nós trompetista que estamos começando, um forte abraço Deus abençoe!
Ok, love the Air Flow exercises. I got acquainted with them as a student of Ed Tarr, who studieed with Mr. Chicowiz.
Time moves on and with it, me too. i don't play trumpet anymore, but rather after embouchure collapses in the early 1980s, I switched to trombone after a 9 year pause and then moved on to bass trombone. I use a version of the flow studies to open both my upper and lower registers simultaneously, expanding stepwise into each, until I reach the high concert b-flat and the pedal f/E-Flat/D (on a good day. I do however do them a little differently in that I always start and end on the same middle f. This assures, that despite the so-called "shift" (ie lower jaw movements to accomdagte air direction for both extremes: blowing downwards for high notes and blowing outwards for extreme low notes), that the mouthpiece doesn't slide on the lips, getting one trapped in one register or the other. In other words, and especially true for trombone and tuba players, you are encouraged to move your lower jaw, which changed the direction of air flow analog to the size of the lip aperture. Some do not need these, most do. Trumpet players also use this, you can see this, no matter if up-streamer or down-streamer.
Another thing I concentragte is beauty of sound, which needs relaxation, not tension in the bad sense. Understanding, that we are physically not the same person every day, it's important to not beat oneself up, when either the upper regisgter is tight or the lower register doesn't want to speak. When I hit a wall, I don't try to break it down, nor myself. I go on to my next group of exercises, which are usually Bordogni lyrical exercises. Then after 3-4 of these, I go to the Concone exercises for low voice, Ffrst down an octave for the low reigster, then at original pitch (the version for low vocal voice). After these, I will do the last couple of exercises of the air flow exercises and e voila - suddenly the high register is there and/or the pedal register also and the ability to go between them is present. Sometimes we get so caught up in technique, that we forget music and once we can forget technique, the music -can- do what the technical brain can't/won't on that particular day. After the trials and tribulations I went through with the trumpet, I was determiend to avoid that at all costs on the trombone and this has been a big help.
thanks!!!!!!!
Muito bom
1:00
Wow you play pretty good. You should consider a career in music.
Maybe specializing in trumpet.